Review: While A Man Called Adam's recent "Farmarama" album did contain a few dancefloor-centric cuts, it was more geared towards sofa-bound listening rather than club play. Hence this tidy EP, which offers up a trio of dancefloor-focused revisions for Balearic-minded DJs. For us, the standout is undoubtedly Carrot Green's inventive revision of "Ou Pas", which re-casts the cut as a dubbed-out, acid-powered psychedelic house trip. That said, many will enjoy Prins Thomas' jazzy and surprisingly trippy take on "Paul Valery At The Disco", which contains tons of new Latin-tinged live percussion and a suitably wonky cosmic disco vibe. If that lot's not enough to set the pulse racing, A Man Called Adam's own "Too Much Dub" of "Farmarama" strikes just the right balance between chunky, bass-heavy rhythms and melodic dreaminess.

Review: Said to have been created after a long period of writer's block, Mark Barrott wrote much of Sketches From A Distant Ocean when he returned to his former home of Uruguay for the first time in a long while. The long break is said to have taught him about the value of self-expression and connection, and he returned to work with an invigorated enthusiasm. This has certainly paid off, as Sketches From A Distant Ocean shines through musically. Our picks are the sun kissed balearica of "Galileo", bossa nova-inflected island dreams of "Low Lying Fruit" and the evocative trip-hop journey of "The Rowing Song", which calls to mind his earlier output from the '90s as Future Loop Foundation.

Review: In the previous reissues we talked so much about this fantastic piece and "Marie", a very cinematic and supportive song, that now it is appropriate to dwell on the re-visited version of Danilo Braca that extends beautifully on the AA side of this new remastered reprint. Danilo who lives in the big apple often frequents Ibiza, perhaps also for this he has been able to exalt the most rhythmic elements of "Shadows from Nowhere", putting the beautiful falsetto beats to excessive movements, just like the waves that wash themselves on the sandy beaches of the White Island. His teacher Mario Gentili from Layer Bows added a beautiful arrangement for the strings and his Italian-New York collaborator Alvise Marino spread some fragments of guitar powder on top. That's it. 9 minutes of pure bliss, but also of catchy rhythm!

Review: Boom! Finally another reissue of Boards Of Canada's seminal Hi Scores LP from 1996! Along with the likes of Aphex Twin, LFO and Squarepusher, these guys have helped to define how we see electronic music today and this particular LP is arguably their most complete when it comes to the dancefloor. The title track is a twisted, floaty bindle of breaks and beats, but it doesn't end there. Tracks like "Nlogax" are inherently Detroitian in nature thanks to the bleepy drum machines inside, and all we can say is that if you haven't laid hands on this album yet, you shouldn't miss the opportunity to cop it now. It's still so relevant and contemporary, it hurts.

Review: Reverso 68 main man Phil Mison has been casually rolling out summery slinkers as Cantoma for nearly 20 years now, and a fair wedge of his most recent material has landed on Highwood Recordings. He offers up a "Noche Espanola" remix of "Kasoto" as the first track on this latest 12", and it's a quintessentially 80s flavoured affair soaked in balmy synths, MIDI brass and vibes aplenty. DJ Speedy Boarding is a new name that may or may not be Mison in disguise, but whatever the case their take on "Kasoto" is fantastic - a bleepy, deliciously deep acid house jam that should worm its way into many a bag. Hold tight for Karel Arbus and Eiji Takamatsu's stunning twist on the track to finish, which moves through gorgeous Japanese instrumentation for a thoroughly individual version for mellower moments.

Review: G.A.N.G. was a short-lived studio project from Giorgio Giordano, Giorgio Dolce and Roberto Zanetti (Savage). In 1983 they released "Incantations", a plush cosmic disco burner that rides a slow tempo but hits heavy with its rich layers of synth and slick guitar licks. Best are giving it a fresh airing with this on-point reissue, bringing the chugging bass arps back into the fold of a sympathetic scene that celebrates just this kind of evocative, sensual slow-mo party fodder. The original mix elevates in the second half with a soaring vocal from Stefania Dal Pino, but if that doesn't appeal there's a purely instrumental take on the B side that focuses purely on the groove.

Review: Julien Jabre's Elias Productions returns with this sterling new package from the esteemed French producer. "Samana EP" kicks off with the Levant mix of the title track, which is a bombastic peak time cut loaded with emotional tension and release thanks to a powerful lead that reaches skywards like the crescendo of an unforgettable open air set. "Far At Sea" is a change of tempo that locks into a low slung groove without sacrificing the bold compositional surges that typify Jabre's approach in the studio. Lazare Hoche come on board to deliver an edit of "Samana" that nudges the wild peaks and valleys of the original towards a more steadfast, streamlined dancefloor workout.

Review: Those delighted by Tallin's Porridge Bullet great job of documenting the late '80s and early 90s period of Estonian music and eager to learn more of the Eastern European country's music heritage should delve into the discography of Frotee. The label's latest release throws the spotlight on Estonian soul singer Velly Joonas, specifically the covers of European songs she recorded during the 1980s. "Stopp, Seisku Aeg!" (or "Stop! Stall the Time!") is a cover by Joonas of "I See Red" from Frida, with the Estonian providing her own lyrics over backing from amateur group Vstretsa and seems quite faithful to the soft skanking 1982 soul number. Complementing this is a wonderful cover of "Feel like Makin Love" which Frotee suggest was laid down in one hour.

Review: Last year Tsuba Records and Isle of Jura founder Kevin Griffiths returned to the studio, eschewing his house and techno past to create deliciously warm, Balearic-minded grooves under the Jura Soundsystem alias. It was, it seems, a smart move, because the music contained on "Monster Skies", his first ever full-length, is undoubtedly the best he's made to date. Warm, humid and wonderfully horizontal, the album sees him fuse a variety of influences - most notably dub, turn-of-the-'90s ambient house, Italian dream house, new age, synth-boogie and those hard-to-define mid 1980s cuts that turn up on Music From Memory compilations - in a myriad of colourful, saucer-eyed ways. The results are uniformly superb, making "Monster Skies" a superb, must-check set.

Review: It was Memorial Day Weekend 2016, and the sun shined bright over the Detroit River. Pontchartrain stepped up to the decks at the Red Bull stage at Movement Electronic Music Festival donning his infamous "Detroit vs. Itself" t-shirt. His first song through the Rane rotary mixer was a dubplate made specifically for his set: "Afterlife". It's a brilliantly executed balearic daytime disco rework that warrants the praise of summer anthem that it's earning. On the flip is "Pool", an equally sunny slomo beatdown rework from Blair French. It's a delightful blend of cerebral and soulful, and is finally getting a release after being originally championed by Peter Croce on his Le Mellotron Paris set back in early 2018.

Review: Given her remarkable rise to prominence last year, it's not that surprising to find that Katie Campbell AKA Roza Terenzi's first release of 2019 is also her most high profile yet. It sees her pop up on Dekmantel for the very first time with a spacey, synth-heavy four-tracker. There's plenty of subtle variation between tracks, too. Compare, for example, the deep space electro shuffle of "3IY", whose elastic synth bassline is particularly addictive, and the shimmering, slo-mo soundscape that is the effortlessly gorgeous "Bricks". Elsewhere, "Freak N Tweak" sees Campbell wrap rising and falling lead lines around a cyber-hip-hop beat, and "Open Me" is a sparkling, grandiose chunk of bass-heavy house/instrumental synth-pop fusion.

Review: First released in 1987, Stephane Severac's sun-kissed European pop gem "Hold On" has long been regarded as something of an under-appreciated classic by those DJs of a Balearic persuasion. This new edition replicates the track listing of the original 12", opening with the evocative extended version. This builds in stages, opening with Chic inspired guitars and dreamy synth chords before introducing a poolside-friendly groove, snaking saxophone solos and Severac's heavily accented vocal. Over on side B you'll find the shorter "Single Version" - less sax, but just as much eyes-closed vocal action from Severac - and "Dreams", a bonus cut that sounds like his take on Duran Duran's mid-'80s big studio synth-pop sound.

Review: Longstanding house peer Watson comes correct with this breathtaking outing on Joe Claussell's Sacred Rhythm. Taking off where he left us on his own Everysoul Audio last year, it's another lavish, unhurried and timeless composition that tips nods to all eras with its velvet pads and Julien Jabre style pianos. The words 'Epic Intro mix' say it all, as does the 13 minute length; Watson's timing ahead of the summer couldn't be better. Daydreamy, liquid in its development and soulful to the very core... If you're playing so much as one al fresco event this season - even your nan's BBQ - you need to pack this.

Review: While many of Slow Life's releases have been firmly focused on the dancefloor, there's enough variety in the label's wholeheartedly electronic output to suggest that this undoubtedly laidback and spacey album is not too much of a curveball. Crucially, it's really rather good, suggesting that debutant duo Asyncronous has a big future ahead. Musically, it's like an echo of the early 1990s, with the Ukrainian production pair offering up tracks that variously touch on heavyweight ambient dub, Pete Namlook style becalmed soundscapes, the melodious IDM bliss of Boards of Canada, the "Artificial Intelligence"-era twinkle of Black Dog and the shimmering futurist synth-scapes of Tangerine Dream.

Review: Gatto Fritto set the bar high with his selections for last year's first "The Sound Of Love International" compilation, so it's a thrilling surprise to find that this follow-up - featuring cuts selected by Max D (Andrew Field-Pickering) and Ari Goldman AKA Beautiful Swimmers - boasts an even more inspired track list. The Washington DC-based duo evokes the spirit of the Croatian festival behind the series via the synth-heavy Afro-Balearic bliss of Plunky's "Africa Sunset", the new age dancefloor shuffle of Svend Undseth's "Aquilla Aquela", the vintage deep house dreaminess of Mark Goddard's "Tiny's First Journey", the pitched-up R&B vocals and hot-stepping B-more beats of KW Griff's "Be Ya Girl" and the sparkling piano riffs and smooth New Jersey house grooves of Spirit Garden's "Electra City".

Review: To simply call Mike Cooper a folk guitarist and vocalist would do the man no justice. Of course, he has put out a majority of slow-burning folk ballads, but Cooper has also dabbled in plenty of electronica and exotica. White Shadows In The South Seas was originally out on CD through Laurence English's Room40 back in 2013, but Scotland's Sacred Summits have decided to give it their vinyl baptism, and it's not surprise given how well it fits into their catalogue. This album is an explosion of moods, sounds and styles, making it both enchanting and excellent, but also impossible to pin down into one genre. The slow-burning exotica of the opener Dr Derelict somehow manages to sink smoothly into the tripping drums and twisted guitar riffs belonging to "White Shadows". It's simply to good to describe in words, and we're certain that this will make someone's top 5 releases of the year in the experimental charts. Cannot be missed.

Review: Archeo trumps once again with a stunning reissue of Riccardo Giagni's highly desirable 1988 masterpiece "Kaunis Maa". It's a subtle, refined body of work that places Giagni's delicate guitar refrains front and centre, with a hazy mist of atmospheric synth pads drifting in the middle distance. The title track is especially sublime, folding dreamy exotica tones into the pastoral sound palette with stunning results. Alongside the six original pieces, Archeo have also commissioned a special, Balearically charged remix from Claremont 56 artist Simon Peter

Review: Archeo trumps once again with a stunning reissue of Riccardo Giagni's highly desirable 1988 masterpiece "Kaunis Maa". It's a subtle, refined body of work that places Giagni's delicate guitar refrains front and centre, with a hazy mist of atmospheric synth pads drifting in the middle distance. The title track is especially sublime, folding dreamy exotica tones into the pastoral sound palette with stunning results. Alongside the six original pieces, Archeo have also commissioned a special, Balearically charged remix from Claremont 56 artist Simon Peter.

Review: Five years ago, Portishead front woman Beth Gibbons joined forces with the Polish National Radio Symphony Orchestra to perform Henryk Gorecki's "Symphony Number 3 (Symphony Of Sorrowful Songs)" at the National Opera Grand Theatre in Warsaw. Here, the recording of the concert is finally given a release. It's a stunning suite of classical pieces, with the orchestra making short work of Gorecki's swelling movements and deeply melancholic musical motifs. Gibbons is in particularly fine form, transforming herself into an operatic artist and accurately delivers the stunning, Polish-language pieces. It's an astonishing performance and nothing like we've ever heard from her before. The 24-minute opening track is, in particular, breathtaking.

Review: Five years ago, Portishead front woman Beth Gibbons joined forces with the Polish National Radio Symphony Orchestra to perform Henryk Gorecki's "Symphony Number 3 (Symphony Of Sorrowful Songs)" at the National Opera Grand Theatre in Warsaw. Here, the recording of the concert is finally given a release. It's a stunning suite of classical pieces, with the orchestra making short work of Gorecki's swelling movements and deeply melancholic musical motifs. Gibbons is in particularly fine form, transforming herself into an operatic artist and accurately delivers the stunning, Polish-language pieces. It's an astonishing performance and nothing like we've ever heard from her before. The 24-minute opening track is, in particular, breathtaking.

Review: In 1979, a year after he co-founded Yellow Magic Orchestra, Haruomi Hosono joined forces with acoustic guitarist Takahiko Ishikawa and keyboardist Masataka Matsutoya to record "The Aegean Sea", a gloriously sunny set of jazz-fusion, disco and jazz-funk cuts shot through with Mediterranean musical influences. It's the kind of thing that would now be considered "Balearic", so it's little surprise to see the set getting a European reissue for the very first time. There's much to admire throughout, from the funk-fuelled dancefloor cheeriness of "Reggae Aegean Woman" and Bob James/Jimmy Smith-influenced bliss of "Image", to the sun-baked gorgeousness of "Day Break" and thrillingly jaunty "Atlantis".

Review: Christian Loffler has been producing pensive, cinematic electronic soundscapes for a long time now. 10 years since his first EP landed, the German producer presents his third studio album on his own Ki Records label. Once again Loffler has continued to grow through the album recording process, embracing more adventurous textural and sound design practices whilst also enriching his songwriting chops. The vocal turns from Josephine Philip and Mohna help deepen the seductive melancholy of his compositions, but even in its instrumental moments the pensive synth lines sing their own heartfelt messages. If you're a fan of Jon Hopkins, Nathan Fake and other such emotionally charged electronica artists, you won't want to miss this album.